Agnaldo Manoel dos Santos ou la subversion de la modernité consentie

Abstract

This article aims to present and discuss how critics, curators, and artists built an enduring narrative about the life and work of Bahian sculptor Agnaldo Manoel dos Santos (1926-1962). This narrative served to limit our understanding of the artist to an unconscious and atavistic link with the African continent. Through what I refer to as « consented modernity », the article demonstrates how Agnaldo, a black artist with no formal education, subverted the limited position that the art world projected on him.

Keywords

• Agnaldo Manoel dos Santos
• consented modernity
• sculptor
• Africa
• afro-brazilian art
• Brazil